The string-picking fingernails that I trimmed two weekends ago are almost back at perfect length. So, we can check that off _________________When the stream is deep
my wild little dog frolics,
when shallow, she drinks.

(intentional double post - the same message is on the Facebook EM 2013 Solstice topic page)

Hello Everyone!

I pre-recorded my set, since my time slot has a direct conflict with my son's high school graduation ceremony!
But no worries. Charles Shriner﻿ is doing me an awesome favor an broadcasting the file for me from his port at my allotted time:
0130 GMT (Robert Dorschel)

I've changed the name of my performance to
"Requiem for the Cicada"

Hopefully all will go well. If not? I have the recording to share with whomever would like a copy (or it will eventually end up on soundcloud).

This is another improvised composition performed in real-time on my DIY analog modular synthesizer. It is a continuation of techniques that I've developed over the last few years.

My interest has been to construct music that uses pseudo-randomness -- that is, events that appear to be random but over time reveal themselves as part of an entire texture.

Also, I pondered the possibility of an analog sequencer with enough steps to fill a very long loop (I consider a Very Long Loop to be a loop that is so long that it's identity as a loop isn't apparent -- in general > 20 seconds). The solution that I came up with is to mix the outputs from four VCO's and use them as a control voltage. At the beginning of the Very Long Loop, all the oscillators are reset via a sync signal. This assures that at any given clock position in the loop, the sampled control voltage would be consistent, thus realizing a sequential pattern the same length as the loop.

I chose for today's work to use un-quantized voltage samples to yield microtones.

My thought is that, though the sequence is too long to be human-detectable, the sequence would create a sense of unity to the improvisation.

The resulting patch for this performance is dependent upon a human performer. The patch's control signals manage the complex control voltages and the sample/hold function. The human, in turn, plays the keyboards, makes many adjustments to the patch, and reacts to the events.

Thus, my goal was to create a kind of real-time composition from complex, microtonal material along with spontaneous human input that is required to make this work.

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